Overture Magazine - 2015-2016 Season March-April 2016 | Page 10

One onOne { Porgy and Bess bridges theatrical and operatic genres. What does the piece mean to you? I’m not sure how eloquent I can be about this because I feel so emotional about it. I don’t think there’s anyone in musical theater or opera who doesn’t bow to Porgy and Bess. Not everybody in opera bows to many things that come out of musical theater. The Gershwins and DuBose Heyward found a way for Porgy to sit in the canon in a unique place. That’s why I was so overjoyed when Marin and the BSO asked me to come and play with this. The music in Porgy gets under your skin. There probably isn’t anyone, from the moment “Summertime” begins, who can’t react to that. Bowing down to Porgy Director Kwame Kwei-Armah holds the American classic in high esteem by Martha Thomas K wame Kwei-Armah, a British-born playwright, director, actor and broadcaster, is artistic director of Center Stage, where he made his directing debut with Naomi Wallace’s  Things of Dry Hours. Mr. Kwei-Armah became the first black Briton to have a play produced in London’s West End with Elmina’s Kitchen, which subsequently had its American debut at Center Stage. Mr. Kwei-Armah will direct the BSO production of Porgy and Bess in April.  8 O v ertur e | www. bsomusic .org Have you worked on it before? I auditioned for the ensemble of Simon Rattle’s Glyndebourne production, but I didn’t get it. However, I went to the performance and it was glorious and I’ve been in love with it ever since. Now it’s come back to me. I didn’t realize you sing. Yes, but evidently not well enough. I actually started my career as a singer and musician, and graduated into acting and then writing and directing. I had just finished understudying Don Jose in Carmen, my second job out of college. Then I auditioned for the Porgy ensemble. I think rather correctly they didn’t give me the role. Is there a part you would have been suited for? Sportin’ Life is the character. That’s the one. Although then, I was just hoping I’d get a cover. Do you think directing on stage with an orchestra will be a challenge? I saw Candide at the BSO. I so loved this hybrid. If you do Porgy as a theatrical production, the orchestra is in the pit. But